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Sister Rosetta Tharpe in 1967

Sister Rosetta Tharpe in 1967

Photo: David Redfern/Redferns/Getty Images

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Here's Who Rocked GRAMMY Salute To Music Legends chicago-sister-rosetta-tharpe-heres-who-was-honored-2020-grammy-salute-music-legends

From Chicago To Sister Rosetta Tharpe, Here's Who Was Honored At The 2020 GRAMMY Salute To Music Legends

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The Recording Academy's 2020 Lifetime Achievement Award recipients—Chicago, Roberta Flack, Isaac Hayes, Iggy Pop, John Prine, Public Enemy and Sister Rosetta Tharpe—all received honors during the celebratory, music-filled special
Ana Monroy Yglesias
GRAMMYs
Oct 16, 2020 - 7:46 pm

Tonight, Oct. 16, the Recording Academy celebrated the lifelong contributions of an incredibly talented, prolific group of artists and music professionals during Great Performances: GRAMMY Salute to Music Legends. Those celebrated included musical icons and 2020 Lifetime Achievement Award honorees Chicago, Roberta Flack, Isaac Hayes, Iggy Pop, John Prine, Public Enemy and Sister Rosetta Tharpe. But that's not all!

Longtime GRAMMY Awards show producer Ken Ehrlich, GRAMMY-winning film composer Philip Glass and music executive Frank Walker also received warm honors as the 2020 Trustees Award winners. Studio speaker pioneer George Augspurger was recognized with the Technical GRAMMY Award and middle school band teacher Mickey Smith Jr. won this year's Music Educator Award.

The special, hosted by the golden-voiced Jimmy Jam, also featured appearances from Brandi Carlile, Cynthia Erivo, Leslie Odom, Jr., Chris Isaak, Jason Isbell, Amanda Shires, Cyndi Lauper, Earth, Wind & Fire's Philip Bailey, Sam & Dave's Sam Moore, Yola and Laurie Anderson, who each brought the honorees' music to life with moving tribute performances. 

The stellar performances and speeches were filmed safely from multiple locations, marking the first time the GRAMMY Salute to Music Legends has not been filmed in front of a live audience. In spite of the limitations, the unforgettable music and legacies of every honoree filled the program with plenty of shimmer, excitement and emotion. As Jam said during his opening segment, "Music is a source of solace and strength." Read on for a recap of the evening:

Roberta Flack Wins Record Of The Year In 1974

Roberta Flack

First up to perform was Nigerian-British GRAMMY, Tony and Emmy winning actor/singer Erivo, paying musical tribute to four-time GRAMMY-winning soul icon Flack. Erivo delivered a stunning, heartwrenching serenade of 1973 GRAMMYs Record Of The Year, "The First Time Ever I Saw Your Face." The tender love song was featured in Clint Eastwood's 1971 movie, Play Misty For Me, and gave the singer a wider fanbase.

"Roberta once said, 'See every opportunity as golden and keep your eyes on the prize, yours, not anybody else's,'" Erivo said before introducing her duet partner for the next song, fellow actor/singer and Flack fan, Odom, Jr. (of Hamilton fame).

The pair then sang another of Flack's GRAMMY-winning classics, "Where Is The Love," from the 1972 duet album with Donny Hathaway. Erivo and Odom, Jr. offered soul and chemistry—socially distanced, of course—from the famous Capitol Studios in Los Angeles. in Hollywood, Calif.

"Music is everything to me," Flack said during her acceptance speech. "Thank you for letting me into your hearts, and allowing my music it be a part of you. Together we have shared life's triumphs, sorrows, joys and dreams. All of it matters, each story in each heart. Challenge yourself to never give up."

Watch: Earth, Wind & Fire To Honor Prince With Their Version Of "Adore" For "Let's Go Crazy" Tribute

Chicago

Powerhouse singer Bailey of Earth, Wind & Fire—who took home their own Lifetime Achievement Awards in 2016—delivered the third epic cover of the evening: a soulful, romantic rendition of Chicago's GRAMMY-winning "If You Leave Me Now," complete with his iconic falsetto.

He was introduced by Chicago-born actor Joe Montanya, who also presented the award to the band's surviving members.

Sister Rosetta Tharpe

Born in Arkansas in 1915 into a family of gospel singers, cotton pickers and evangelists, Tharpe was the Godmother of Rock and Roll. Like so many pioneering Black women pushed to the margins of history, her impact on rock and gospel far exceeded the recognition she received during her lifetime. In recent years, Tharpe has finally started to earn more credit for her role in shaping a global sound—she directly influenced Elvis Presley and other revered male rock figures.

GRAMMY-nominated British soul/country singer/songwriter Yola delivered a rousing vocal performance of "Up Above My Head, I Hear Music In The Air" at the legendary Ryman Auditorium in Nashville. This was followed by amazing footage of Tharpe performing "Didn't It Rain" at a Manchester train station in 1964. From a church in Ireland, Rihannon Giddens presented her award to Tharpe's granddaughter Angela McCollum.

Iggy Pop

Before Detroit producer/bass player Don Was presented Michigan-born punk-rock icon Pop with his Lifetime Achievement Award, he interviewed punk/metal artist Henry Rollins about the influence the "Lust For Life" singer had on him.

"You simply couldn't take your eyes off him," Rollins noted, sharing his love for Pop's wild stage presence. The influential, ever-evolving singer accepted his award with gratitude for his fans, closing with a "punk on."

Watch Isaac Hayes Win At The 14th GRAMMY Awards

Read: Channel Tres Talks Honoring Isaac Hayes On EP 'Black Moses,' Healing With Music & Being A "Ghetto Savior"

Isaac Hayes

Next up for performances was 2019 Lifetime Achievement Award winner Moore, of soul duo Sam & Dave, who paid tribute to his friend and collaborator Hayes. The legendary "Black Moses" singer/songwriter/producer first began making his musical mark at Memphis' Stax Records in the '60s, where he wrote and produced a number of hits, including "Hold On I'm Coming," "Soul Man" and other memorable, successful records for Sam & Dave.

His deep musicality, legendary baritone vocals and soulful delivery made Hayes a successful solo artist as well. And with his GRAMMY- and Oscar-winning soundtrack/score for Shaft, he became the first Black person to win an Oscar in a non-acting role.

Moore sang a lively, joyful melody of Hayes-penned hits, filled with 100 percent soul: "I Thank You," "You Don't Know," "Soul Man," "You Got Me Hummin'" and "When Something Is Wrong With My Baby."

While introducing Moore, the evening's Emmy-winning music director Greg Phillinganes stated, "Isaac once said, 'There's many hurdles, so I just keep moving, just constantly redefining myself. That's how you stay in the race.' And he proved that quote well with his amazingly long career."

Hayes' award was accepted by his son Isaac Hayes III, who spoke to the connection between artist rights and racial equality, as well as the vital importance of voting.

Philip Glass

Baltimore-born Glass, one of the two 2020 Trustees Award recipients, has been composing and performing beloved operas, film scores, concert pieces and theater works for decades. Ever the expansive composer, he's also collaborated with major singer/songwriters like David Bowie and Paul Simon.

The next musical offering was delivered by Glass' longtime friend Anderson, an avant-garde artist, who played "Gee Whiz." They co-wrote the calming, experimental song together for a show at La MaMa theater in N.Y.C., in honor of Ellen Stewart, who founded the space in 1961. She accepted the award on her friend's behalf.

Frank Walker

The second Trustees Award recipient was Walker, a pioneering A&R executive at Colombia Records, born in rural New York in 1889. During his illustrious career, he discovered country stars Hank Williams, Bessie Smith and Blind Willie Johnson. He also temporarily left retirement to help launch MGM Records and sign Williams.

To celebrate Walker's contributions the music industry, crooner Isaak delivered a rendition of Williams' melancholic breakup anthem "Your Cheatin' Heart," from at RCA Studio A in Nashville with help from some talented friends.

For The Record: Public Enemy's "Fight The Power"

Explore: From Aretha Franklin To Public Enemy, Here's How Artists Have Amplified Social Justice Movements Through Music

Public Enemy

In 1990, the epic protest anthem "Fight The Power" earned Public Enemy their first GRAMMY nomination, plus five more to date, as they continue to release hard-hitting, socially conscious music to this day. During their tribute, viewers saw the track's Spike Lee-directed music video (the Oscar winner famously requested the song for his classic 1989 film, Do The Right Thing).

The group's award was presented to them by fellow New York rap hero LL Cool J. "The record shows that Public Enemy have fought the power like no other group in history. On stage and off, Public Enemy were an undeniable and fearless force," he said.

During the acceptance speeches, we heard from all four original members Flava Flav, Chuck D, Professor Griff and Terminator X, the latter of whom spoke through the beats with a mini DJ set.

Mickey Smith Jr.

The 2020 Music Educator Award recipient was Smith, a teacher and bandleader at Maplewood Middle School in Sulphur, La., where he's taught for the last 15 years. He delivered a deeply moving, motivational speech, closing with, "To everyone that's watching, you have a sound. Let us be the sound to change the world."

George Augsburger

The 2020 Technical GRAMMY Award went to Augspurger, a longtime acoustician and pioneer in studio and speaker design. After 70 years in the industry, he's still designing custom monitors and studios and teaches a class in loudspeaker design at the University of Southern California. Jam presented the award to Augsburger.

Ken Ehrlich

Ehrlich, a.k.a. the creator of the GRAMMY Moment, produced his first GRAMMYs in 1980. There, the debut GRAMMY Moment happened between Barbra Striesand and Neil Diamond, who sang "You Don't Bring Me Flowers." He's also worked on the Emmys, GRAMMY Tribute specials and other award-winning variety and award shows.

To pay honor to the man behind so much GRAMMY magic, Lauper sang an acoustic version of "Time After Time," noting that it was his favorite song of hers. 

EGOT John Legend exuberantly presented the award to Erlich, explaining how his invitation to perform "All Of Me" on the GRAMMY stage in 2014 helped make the song a hit, his only No. 1 on the Hot 100. Erlich accepted his award with a big smile.

John Prine

Beloved Illinois-born singer/songwriter Prine was set to perform during the show before we sadly lost the folk/Americana hero to COVID-19 in April. 

To honor him, Nashville power couple Isbell and Shires sang Prine's 1980 song "Storm Windows." Their love for Prine is very personal—Isbell grew up loving his music from a young age and Shires toured with him.

Carlile, meanwhile, performed "I Remember Everything," the beautiful last song he wrote. Before singing, she told a cute story about the first time they performed together and how comforting and kind he was: "He was right, you can always trust John Prine. He also told us the truth with his whole life, and he tells us the truth even today."

Carlile presented Prine's award, which was accepted by his wife, Fiona Prine, who wore an "I am a voter" T-shirt, and sat with their three sons. The family offered appreciation for the award.

Check your local PBS listings to catch the show during an upcoming rerun. PBS members can watch it online and via the PBS Video app for the next four weeks.

Let Your Heart Be Your Guide: Adria Petty, Mike Campbell & More On The Enduring Significance Of Tom Petty's 'Wildflowers'

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Fantastic Negrito at Hardly Strictly 2019

Fantastic Negrito at Hardly Strictly 2019

Photo: Ken Friedman

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Hardly Strictly Announces Online 2020 Fest hardly-strictly-bluegrass-will-let-music-play-virtual-2020-festival-featuring-new

Hardly Strictly Bluegrass Will "Let The Music Play On" With Virtual 2020 Festival Featuring New & Archival Shows

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Since the beloved, free music festival will not be able to take place in its home of Golden Gate Park this year, they will be hosting an epic online event Oct. 2–4
Ana Monroy Yglesias
GRAMMYs
Jul 27, 2020 - 1:51 pm

Today, July 27, Hardly Strictly Bluegrass unveiled their plans for a virtual 20th anniversary celebration, along with the (unsurprising) news that the festival would not be able to take place in person this year. From Oct. 2-4, when the fest would've taken place this year, Let The Music Play On will keep the spirit of Hardly Strictly alive with music and memories from the best in American Roots music and beyond.

https://twitter.com/HSBFest/status/1287202992823779328

Let the Music Play On! https://t.co/WHTaeSFWdt pic.twitter.com/0hZersfLgo

— Hardly Strictly Bluegrass (@HSBFest) July 26, 2020

WATCH LIST: Free Online Livestream Concerts To Catch During Coronavirus Quarantine

Held during the first weekend of October in San Francisco's lush Golden Gate Park, the free three-day event draws in over 750,000 people for the best in bluegrass, folk, soul, alternative music and more. As the ongoing coronavirus pandemic has derailed festival and live events of all sizes, many have gotten creative with livestream concerts, archival shows, fan engagement and more.

With Let The Music Play On, Hardly Strictly is combining all of those, with a three-day event featuring new performances, archival sets from the vault and curated memories from fans. Past attendees are encouraged to submit their favorite event memories in the form of words, photos and videos to memories@hardlystrictlybluegrass.org for possible inclusion in the online event because "the HSB community is what gives the festival life."

Read & Watch: From Foo Fighters To H.E.R., Chris Martin To Mavis Staples, Here's Who Rocked The GRAMMY Prince Tribute

"The October broadcast will feature new performances from the expansive range of Hardly Strictly Bluegrass artists that include first-time performers to legends of American Roots music, along with archival footage from the festival's past two decades and memories from fans, performers, and staff and priceless gems from the festival's rich history," the press email explains.

Related: Fantastic Negrito On How His New Album, 'Have You Lost Your Mind Yet?', Is A Timely Commentary On American Society

GRAMMY winners Booker T. Jones, Mavis Staples, Fantastic Negrito, John Prine, Asleep At The Wheel and Emmylou Harris, Latin GRAMMY winners/GRAMMY nominees Flor De Toloache, GRAMMY nominee Chris Isaak, Grateful Dead hero Bob Weir and rising Nashville star Adia Victoria, along with many more class acts, have performed at Hardly Strictly over the years.

Watch: Recording Academy Board Members Cover John Prine's "Angel From Montgomery" To Benefit MusiCares' COVID-19 Relief Fund

"The festival…was founded by [late finance executive and philanthropist] Warren Hellman [in 2001] on ten pillars: community, joy, creativity, collaboration, freedom, peace, love, respect, gratitude, and spirituality. It was Hellman's gift to the City of San Francisco, offering a free outdoor festival in the historic Golden Gate Park that is a celebration of American roots music," the email notes. 

"While we know we can't replace the feeling of being together physically, the safety of our attendees, artists, volunteers, and staff are our highest priority and our team has been hard at work creating a vibrant broadcast in line with what attendees have come to expect from HSB: community, discovery, and the all-time best in roots music," festival advisor Mick Hellman (and Warren Hellman's son), added. "We're excited to share parts of HSB that aren't feasible in a festival environment such as screening archival footage, sharing memories, and shining a spotlight on our non-profit partners."

The fest also announced the Hardly Strictly Music Relief Fund: Bay Area, a $1.5 million COVID-19 relief initiative for local San Francisco Bay Area musicians and venues. American Roots artists based in the Bay can apply for the one-time grants of up to $2,000, while local venues "with a track record of presenting and supporting roots music" are eligible to be considered for $200,000 grants.

More info on the Oct. online event, including the lineup, will be announced later at hardlystrictlybluegrass.com.

Lollapalooza Announces Lolla2020 Virtual Fest Celebration In Place Of Cancelled In-Person Event

Chris Martin & Susanna Hoffs at "Let's Go Crazy: The GRAMMY Salute To Prince"

Chris Martin & Susanna Hoffs

Photo: Monty Brinton/CBS/Getty Images

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Here's Who Rocked The GRAMMY Tribute To Prince foo-fighters-her-chris-martin-mavis-staples-heres-who-rocked-grammy-prince-tribute

From Foo Fighters To H.E.R., Chris Martin To Mavis Staples, Here's Who Rocked The GRAMMY Prince Tribute

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Earth, Wind & Fire, St. Vincent, Beck, John Legend, Common, The Time, The Revolution and more also brought purple power to "Let's Go Crazy: The GRAMMY Salute To Prince"
Ana Monroy Yglesias
GRAMMYs
Apr 21, 2020 - 8:20 pm

"To me, Prince is music. To love Prince is to love music," "Let's Go Crazy: The GRAMMY Tribute To Prince" host Maya Rudolph said as the GRAMMY special aired on Tuesday, April 21. "He said so much, so well, for so long, and then was gone too soon."

On the fourth anniversary of the seven-time GRAMMY winner and cultural icon's death, the Recording Academy and some very special celebrity friends celebrated his life and musical treasure trove. The shimmering Prince tribute concert, "Let's Go Crazy: The GRAMMY Salute To Prince," featured powerhouse numbers from Foo Fighters, Beck, Common, Earth, Wind & Fire, H.E.R., Mavis Staples, St. Vincent, John Legend, Miguel, Coldplay's Chris Martin, the Bangles' Susanna Hoffs and many more. The latter pair sang a stripped-down piano rendition of "Manic Monday," the Bangles' hit penned by Prince, while Dave Grohl led the Foo Fighters in a rocked-up covers of "Pop Life" and "Darling Nikki," the latter complete with growls and shrieks.

GRAMMYs

Mavis Staples and The Revolution perform at "Let's Go Crazy: The GRAMMY Salute To Prince" | Photo: Monty Brinton/CBS/Getty Images

Jimmy Jam, Terry Lewis and Sheila E. served as musical directors for the show, and all performed during it. Jam and Lewis, who got their start as part of Prince-formed act the Time, brought the moves with that classic group, while Sheila served up her epic drumming during the majority of numbers, as the bandleader of the powerhouse backing band. Prince's very own GRAMMY-winning backing band The Revolution also served up major purple realness during the show, performing "Delirious" with Rudolph and her duo Princess, "Purple Rain" with Staples and a joyful, star-studded finale of "Baby I'm a Star."

Jimmy Jam & Terry Lewis Tease Morris Day & The Time's Prince Tribute Medley For "Let's Go Crazy"

In case you missed its airing on CBS/CBS All Access, or in case you couldn't Shazam some of the deeper cuts quickly enough, let's take a trip back to a time filled with "Purple Rain," before the coronavirus crisis stopped us all in our tracks (the show was safely and miraculously taped before the pandemic rocked the States).

H.E.R. Celebrates No. 1 Influence Prince

Opening the festivities were fellow GRAMMY winners and guitarists Gary Clark Jr. and H.E.R., who performed the night's titular bop, "Let's Go Crazy." The "Hard Place" singer rocked a fabulously shiny, iridescent white jumpsuit with a color-coordinating electric guitar, while the "This Land" artist stylishly contrasted her in a matte black suit and brown woodgrain guitar.

H.E.R. Celebrates Prince At "Let's Go Crazy" Tribute: "It's Gonna Be A Party!"

Miguel Honors Prince With "I Would Die 4 U"

Miguel Praises Prince, Talks About Performing "I Would Die 4 U" For "Let's Go Crazy: The GRAMMY Salute To Prince"

Next up was R&B angel Miguel, who brought sexy, Princely swagger—complete with white lace and eyeliner—to Purple Rain track "I Would Die 4 U."

John Legend Performs "Nothing Compares 2 U"

"He set the stage for all of us who follow," said EGOT-winner Legend, who wore a fierce, fitted dark grey suit. He sang a rousing rendition of "Nothing Compares 2 U," Prince's GRAMMY-nominated song originally performed by Sinead O'Connor.

GRAMMY-winning polymath St. Vincent followed, donning a lavender ruffled bodysuit and white go-go boots. Before she calmly slayed "Controversy," she told a story of Prince attending one of her shows, which "scared her to death." "Prince's music means so much to all of us," she added.

Juanes Takes Us Back To "1999" In Prince's Honor At "Let's Go Crazy: The GRAMMY Salute To Prince"

GRAMMY and Latin GRAMMY winner Juanes, wearing a maroon crushed velvet top, rocked out with a lively rendition of "1999." The Colombian rock star was introduced by the Purple One's longtime friend, Naomi Campbell. He was followed by another song from H.E.R., this time with dancer and Prince collaborator, Misty Copeland. Her gorgeous dance moves brought a powerful energy to H.E.R.'s electric performance of "The Beautiful Ones." Sitting at a space-age white Roland piano, H.E.R. hit alll the high notes with a commanding, graceful power.

Naomi Campbell On GRAMMY Salute To Prince: "I Really Wanted Him To Have The Celebration He Deserved"

Next on deck during the show was another act featuring beautifully articulated choreography, this time by FKA Twigs and Usher, from their slick 2020 GRAMMY performance (watch above) of "Little Red Corvette," When Doves Cry" and "Kiss." Martin and Hoffs brought us back down to earth with lovely duet of "Manic Monday," with Martin playing the piano.

GRAMMYs

The Time perform at "Let's Go Crazy: The GRAMMY Tribute To Prince" | Photo: Monty Brinton/CBS/Getty Images

Not wanting to keep the audience in their seats too long, Morris Day, Jam, Lewis and The Time brought the energy back up with a medley of some of The Time's biggest bops written by Prince: "Jungle Love," "Cool" and "The Bird." They all still dance like it's 1984 and Ice Cream Castle just hit the airwaves—apparently an active diet of Prince music keeps you young and fresh.

Morris Day Pays Tribute To His Friend Prince At "Let's Go Crazy: The GRAMMY Salute To Prince"

Dave Grohl Tells The Story Of Jamming With Prince

Dave Grohl, meanwhile, shared a story (watch the clip above) about the time he jammed with Prince in an empty L.A. Forum. He also spoke about how Foo Fighters used to perform "Darling Nikki" in their early days. Their hard-rocking slayage of the sexually explicit Purple Rain track was the first time they'd played it in over 20 years. Host Rudolph then kicked it over to the legendary GRAMMY winning-soul group Earth, Wind & Fire for a rolicking cover of Sign 'O the Times cut "Adore."

GRAMMY-winning rapper/actor/activist Common followed with a modern update on the 1987 album's socially charged title track, "Sign O' The Times."

Watch Common Perform "Sign 'O' The Times"

Next, GRAMMY-winning alt-rock stalwart Beck sang ubiquitous Prince catalog classic, "Raspberry Beret," complete with the music video's cartoon clouds dancing in the background. 

Beck Performs Prince's "Raspberry Beret"

Clark Jr. returned to the stage for a special duet with Sheila E., of another Sign 'O the Times deep cut, "The Cross."

Gary Clark Jr. On His Admiration For Prince: "He's The Best Guitar Player In The World"

Gary Clark Jr. Sings Prince Deep Cut "The Cross"

Comedian/actor/musician Fred Armisen then took the stage to introduce the evening's true star, Sheila E., who'd already changed into another bold ook. She then led a medley of "America," "Free" and "The Glamorous Life," tracks she recorded with the icon himself.

Sheila E. Honors Prince's Unmatched Musical Legacy: "There's Only One Prince"

Armisen returned to introduce one his "best friends," Maya Rudolph, who'd also changed into another look for her performance with her Prince cover band, Princess, who slayed "Delirious" with The Revolution, Prince's powerhouse backing band.

The Revolution stuck around to rock out with the one and only Staples for a incredibly moving rendition of "Purple Rain." Finally, they lead a packed stage for a very star-studded, lively take of "Baby I'm a Star," bringing out all the amazing performers who channeled Prince's royal energy during the show.

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Dave Grohl Tells The Story Of Jamming With Prince, Talks Growing Up To His Records

Photo of GRAMMY trophy

Photo: Valerie Macon/AFP via Getty Images

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Recording Academy Launches Black Music Collective recording-academy-establishes-black-music-collective

The Recording Academy Establishes Black Music Collective

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The newly launched collective comprises a group of prominent Black music creators and professionals who share the common goal of amplifying Black voices within the Recording Academy and the wider music community
Recording Academy
Sep 3, 2020 - 6:30 am

The Recording Academy has today (Sept. 3) announced the creation of its Black Music Collective (BMC), a group of prominent Black music creators and professionals who share the common goal of amplifying Black voices within the Academy and the wider music community.

As part of the Recording Academy's commitment to evolving hand-in-hand with its membership, BMC will serve as a space for members to speak openly about new and emerging opportunities in Black music across all genres and identify ways to drive more representation.

The launch of BMC follows the Recording Academy's recent partnership with Color Of Change, the nation's largest online racial justice organization, in July, which set forth to create a Black music advisory group. The BMC fulfills this promise and is bringing together creators and business leaders to create a pipeline of future industry trailblazers. Leaders will meet regularly and initiate programs that will encourage participation and accelerate Black membership in the Recording Academy.

Jeffrey Harleston, Jimmy Jam, Quincy Jones, Debra Lee, John Legend, and Sylvia Rhone will serve as honorary chairs of the BMC. A distinguished leadership committee will be confirmed in the coming weeks and will work in sync with the honorary chairs to propel the collective's mission. Recording Academy Trustee Riggs Morales and Washington, D.C., Chapter Executive Director Jeriel Johnson will lead the initiative internally. 

"The Black Music Collective is necessary to help drive the Recording Academy into a new era. Creating an open space for Black music creators can only benefit our membership as a whole," Harvey Mason jr., Chair and Interim President/CEO of the Recording Academy, said. "Through the past few months, I've been personally invested in propelling this collective along with Chapter leadership within the Academy. Together, we will elevate Black music creators within our organization and the industry at large." 

"As Black music continues to drive culture, it is essential we grow and maintain representation within the Academy and the music industry," Valeisha Butterfield Jones, Chief Diversity & Inclusion Officer of the Recording Academy, said. "We're thrilled to help develop the leaders of tomorrow with impactful educational and experiential programs that we will announce in coming weeks."

In March 2018, the Recording Academy established a third-party task force to examine issues of diversity and inclusion within the Academy and the broader music community. The Academy has since taken action on the Task Force's initial assessment and recommendations and has made additional strides to facilitate a culture of belonging while recognizing the need to focus on underrepresented communities. Recent initiatives include the hiring of a Chief Diversity & Inclusion Officer, a $1 million donation to Color Of Change, alignment with #TheShowMustBePaused movement created by Jamila Thomas (Atlantic Records) and Brianna Agyemang (Platoon), and the development of an industry Inclusion Rider and Toolkit to be released later this year.

Stay up to date on the Recording Academy's progress, future announcements and recent initiatives on diversity and inclusion.

Recording Academy Invites & Celebrates Its 2020 New Member Class

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Marshall Jefferson

Marshall Jefferson

Photo: Courtesy of artist

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Record Store Recs: House Hero Marshall Jefferson record-store-recs-chicago-house-hero-marshall-jefferson-representation-dance-music

Record Store Recs: Chicago House Hero Marshall Jefferson On Representation In Dance Music

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The OG DJ/producer made his lasting mark with "Move Your Body" in 1986, the first-ever piano house track, which reemerged late last year with a hugely popular remix from Solardo. His latest, "Let's Get Busy," also brings new life to a classic
Ana Monroy Yglesias
GRAMMYs
Aug 17, 2020 - 4:08 pm

With the unprecedented global disruption of 2020, it's important to support the music community however we can. With our series Record Store Recs, GRAMMY.com checks in with vinyl-loving artists to learn more about their favorite record stores and the gems they've found there. Today, we get a special throwback edition from one of the Godfathers of House music, Marshall Jefferson.

In 1986, Chicago DJ/producer Marshall Jefferson released the ecstatic, piano-led "The House Music Anthem (Move Your Body)" on legendary local imprint Trax Records, unleashing a quintessential building block of house music that took the scene by storm. It is credited as the first track to bring piano (inspired by Elton John, nonetheless) into the emerging house music sound he and fellow OG DJs were creating in the Chicago and New York City underground.

Following that pivotal moment, he stayed active and innovative in the Chicago underground until the late '90s, DJing clubs and releasing countless classics under his various aliases and collabs, including "The Jungle" as the Jungle Wonz in 1986, "Open Our Eyes" in 1988. In the 2000s, he began to focus more time on DJ gigs and relocated to London (and later Manchester, where he still resides) to be closer to the European clubs he was being booked at.

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In October 2019, Manchester duo Solardo worked with the icon to deliver an updated recording/remix of "Move Your Body" on Ultra Music. Since then, Jefferson has firmly returned to the global underground dance spotlight, as a younger generation was delivered the enduring magic of old school piano house.

Since the wildly popular update of the classic track, Jefferson has released a healthy serving of new tracks and remixes, including "The Storm," "Kiss The Dragon Remixed," and most recently, on Aug. 14, "Let's Get Busy" featuring OG house/R&B vocalist CeCe Rogers and Glasgow duo Illyus & Barrientos, who deliver a rework of the lively 1988 jam. Pre-pandemic cancelations, Marshall was set to play some big shows and festivals this year, including England's massive Glastonbury.

Get More Record Store Recs: Simón Mejía Of Bomba Estéreo Takes Us To Colombia

For the latest edition of Record Store Recs, the house icon serves up something a little different for this inaugural throwback edition, sharing some of his favorite records from his collection, what he believes is the essence of house music, how dance music can better honor its roots and more.

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GRAMMYs

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When did you start collecting vinyl? What is the first record you remember purchasing?

In 1969. The first record I bought was Led Zeppelin's Led Zeppelin II (1969). I liked "Whole Lotta Love."

What were your favorite record stores in Chicago in the '80s and '90s? Are any of them still there?

My favorites where Loop Records and Imports Etc. I believe both are closed now.

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GRAMMYs

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Get More Record Store Recs: Salt Cathedral Talk Favorite Brooklyn Indie Shops & How To Support Artists Of Color

What are some of your favorite records from your collection?

Elton John's Goodbye Yellow Brick Road (1973)

Isaac Hayes' [GRAMMY-winning] Shaft (1971)

Led Zeppelin's Physical Graffiti (1975)

Go Back With GRAMMY Rewind: Watch Isaac Hayes Win Best Original Score Written For A Motion Picture for "Shaft"

What do you love about these records/artists?

I loved the whole presentation of Goodbye Yellow Brick Road, especially Elton John's piano playing and Bernie Taupin's lyrics. I loved Physical Graffiti's album art and Led Zeppelin instrumentation, especially John Bonham's drums. On Shaft, I really loved the music and the production [Hayes wrote and produced the entire score/album himself].

More Chicago House: Gene Farris Talks "Space Girl," Rave Safety & The Return Of The "Bedroom DJ"

How would you define the essence of house music? In your opinion, what makes something a great house record?

House is underground. It moves the cool people on the dance floor. It's quality. A great house record makes people scream, dance and raise their hands in the air when they hear it—"hallelujah."

How can dance music and the broader music community better honor its roots, and the Black and brown artists who pioneered it?

Just give us a chance, man. Promote us. There's a huge discrepancy in fees and promotion between Black artists and other races. When you see the millionaire DJ lists, Black DJs are never on them. 

What can music fans do to better support Black artists and businesses?

The fans can't do any more than they're doing, I think. It's not their fault the dance music industry ignores Black artists when it comes time to promote artists. The fans buy what they're exposed to. In pop music, I feel Black artists are represented, but in dance music? Nope. 

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